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Статті в журналах з теми "Écriture – Afrique subsaharienne":
Rangira, Béatrice Gallimore. "Écriture féministe ? écriture féminine ?" Études françaises 37, no. 2 (September 9, 2004): 79–98. http://dx.doi.org/10.7202/009009ar.
Дисертації з теми "Écriture – Afrique subsaharienne":
Martinez, Nadine. ""Quand le serpent parle le bummõ le répête. . . " : étude des surfaces planes dans les oeuvres d'art des Dogon, Bambara et Sénoufo de la Côte d'Ivoire et du Burkina Faso." Paris 1, 1997. http://www.theses.fr/1997PA010517.
From an aesthetic, ethnologic and comparative point of view, level surfaces of dogon, Bamana and Senufo works of art, which have different geometric outlines (rectangular, square, circular, curved or cylindrical), display various symbols, painted as well as engraved and openwork symbols. These surfaces play a part in the rituals. They contain the most intimate thoughts of initiation and those of the families facing the death, and they are a way to approach god. The plane is the product of a conflicting aesthetic, ambivalence and it embodies the hope of religion, of immortality. The openwork proceed from a deeper and deeper levelling of the surface to the piercing of the material. The plan reveals the division of the world into three parts and the mind's tripartite functioning of the studied families : it is the golden mean, the balancing point. Displaying signs, it is the basis of the oral and written initiatory education. The signs create writings that are sometimes different from the alphabetic writings of from the ones aiming at the strict reproduction of the speech, but their functioning is original. They act as a medium in the dialogue between mankind and god, for their fight against the dangers of the breath the speech contains, and the divine answer follows the canal of the ritual possession. When these writings are integrated in the linguistic or semiotic speech, the pierce's model is the best adapted model to study them. Moreover, their aesthetic places them midway between art and writing. The symbols and the diffusion of the plane offer the opportunity to locate some families' movings in history, which historians', archaeologists' texts and the oral tradition confirm. Western-African families would most probably come from east, from Cameroun, or from a longer way, from Egypt or central Africa. The dogon and the tellem would surely constitute a same family such as the dogon and the Mossi
Condro, Mlaili. "L' écriture et l'idéologie en Afrique noire : le cas du syllabaire vai." Limoges, 2008. http://aurore.unilim.fr/theses/nxfile/default/f19a14f7-4340-45bc-9c4f-0b10252d4a78/blobholder:0/2008LIMO2002.pdf.
Ndemby, Mamfoumby Pierre. "D'une écriture de la rupture à une relecture de cultures : lire et comprendre les pouvoirs traditionnels dans le roman d'Afrique noire francophone." Paris 12, 2005. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990002301960204611&vid=upec.
The aim was to review French discourse from the dawn of the twenty-first century ; more particulary in the following texts : The Initiated, The cry that you make won't awaken nobody, The Festival of Masks, After the silence, In waiting for the vote of the Wild Animals, The sound of Inheritance, The Identity Card and The one and a helf lives. In the end, after considering the question of traditional powers from each and every perspective, it is the problem of identity, in all its facets, which has been dealt with. Seen from this point of view, the (written and spoken) word has been pinpointed as a source of power in consideration of its social and literary aspect. The question of myths and their stylistic effect of their images have allowed us to highlight the way in which all the elements constituting ancient knowledge have been handed down over time. Myths, which, by means of the narrative structure of their texts, have revealed how contemporary literary works, destroyed by contemporary societies, are affected and they contribute also to to the breaking down of traditional orders. Following on from that, there is an attempt to legitimise Frecnh writings by means of the power of words, as writing of rupture. In order to do this, it was necessary to highlight the structural elements which would help us to define French texts on the basis of their linguistic elements. Subsequently, words have been denoted as a force which generates meaning. This semantic self-generation has helped to reveal the instability of certain characters and the apparent loss of authority bt patriarchs such as Rèdiwa or Makaya, charged with the safe-keeping and the transmission of ancient values. The internal conflict found in French black African imaginative works, often linked to the confrontation between tradition and modernity, is also that which has allowed us to read cultural phenomena differently and has led to the challenging of traditional knowledge. Finally, the entire French-speaking world, or at least that which is mentioned in the third part of this work, eventually reveals itself to be, in one way or an other, based almost exactly on the ancients' model. The analysis carried out during this work has shown how the political arena and the traditional axis of power became interdependent. Political figure circulated freely, moving from one area to another in their pursuit of meaning, without the slightest apprehension. This pursuit of meaning or of identity has led political heroes, seeking to flee everyday difficulties, to make us of the ebb and flow of symbolism and politics in order to construct new identities, new beliefs, and in order to construct a new basis for the relationships with the other, with society and with the universe. If the reading about figures of traditional power has been thus effective, it is because this model has become the matrix of French writings. This attachment to values has given the issue of modernity a dual quelity : on the one hand in terms of being a national treatment of the subject liberated from the pitfalls of nature ; and on the other hand, one which is perceived as the establisment of the new tradition. In each of these two cases, French novelists have tried to make their characters and their writting adhere to this vision of things
Azarian, Viviane. "Les écritures autobiographiques en Afrique francophone subsaharienne 1926-2000." Paris 3, 2005. http://www.theses.fr/2005PA030004.
The importance of collective consciousness in African societies has often been considered as an obstacle to autobiographical writing, yet autobiographical works appeared with the beginnings of literature in French language in black Africa ; where to this day it still occupies an important place. Its production has continued to grow in various and hybrid forms : factual, fictionnal stories, which simulate these narrative forms and autofictionnal stories. This study is divided into four sections. First an historical and sociological approach : the framing of the genre in historical context, the relationship between the individual and society ; then an analysis of the themes treated : authenticity, alienation, identity and otherness ; third a reflection on forms and literary models ; finally a poetical analysis and a reflection on the question of the subject and the relationship between an author and his wrtiting practice
Mohamed, Elemam Elmetwalli Mohamed. "Engagement politique et Imaginaire romanesque chez Ahmadou Kourouma et Rachid Mimouni." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSES002.
This research, which unfolds in three stages, provides a reflection about the ideological, but also aesthetic dimension of postcolonial Francophone literature in sub-Saharan Africa and Maghreb. It aims precisely to show how a political and ideological discourse is linked up with a literary and aesthetic practice in the novels of the Ivorian Ahmadou Kourouma and the Algerian Rachid Mimouni. In the first two parts, we examine the different aspects of the political engagement of these two francophone writers belonging to different geographic, political social and cultural areas. It is precisely a question of staging their convictions and ideological positions expressed in the novels of the corpus about the phenomena of dictatorship, ideological drifts and war violence, which marked in Africa the period going from the first years of independence to the first decade of the 21st century. The last part aims at examining how poetics can provide suitable models for thinking politics at both writers. More precisely, studying the structures of narration at work in the novels of the corpus allows to highlight the aesthetic issues of their politically engaged writing which draws as much from the forms of the European novel as from African oral tradition
Pope, Julie. "Émancipation et création poétique. De la Négritude à l' écriture féminine à l'exemple d'Aimé Césaire, Léopold Sedar Senghor, Ahmadou Kourouma, Calixthe Beyala." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030067.
In the context of the independences of former French colonies, the poetic impetus of militant authors such as Aimé Césaire, Léopold Sédar Senghor or Léon-Gontran Damas is adamantly linked to the rebuttal of colonialism and to political activism. Intellectuals, writers, and artists strongly condemn European imperialisms. For the “Négritude” poets, poetry stands as the most obvious testimony of political and literary commitment. Their poetic works, relying both on oral practices inherited from Africa and on relatively classic prosodic styles, is the vehicle for political messages and reclaiming of African culture. Subsequently, novel writing in sub-Saharian Africa tackles more and more themes of slavery, colonization, colonial alienation, neo-colonialism, all of this becoming empowering processes. The question is to open on a renewed vision of the world, giving the French language a new creative trace, through the authors’ representation. Therefore, Francophone literature reclaims its singularity. This is especially true with Cameroon and Congo: for instance, Ahmadou Kourouma posits that his literature is malinké. Tchicaya U. Tam’si declares that if the French language is colonizing him, then he colonizes it in turn. The colonized rebellion paradoxically leans on the French colonizer language, while trying to displace and advance it through writing. Francophone literature in sub-Saharian Africa is the place of differences and of “différances”, for it bears the traces of many sociological reflexions, and becomes, through its diversity, a place for creativity, liberty and hybridity. We also witness the rise of political protest novel against dictatures, corruption, civil wars ; for example Ahmadou Kourouma, writing Allah n’est pas obligé, does not bother anymore with the rules of literature but excels in the practice of a “rotten language” to describe an atrocious war. This is a form of creativity similar to the one that give birth to creole, “français petit-nègre”, “camfranglais” and one that African sub-Saharian literature explore. It is in this perspective opened by subversive writing and reading practices that women emancipation in Africa takes place. The case of Calixthe Beyala, among others, illustrates this evolution of the status of women in society, beyond the sexual male/female divide. This process stems from post-colonialism and independentist movements gaining power and focus in the XXth century. Women distinguish themselves thanks to their writing and speech in a public sphere reserved to men. Novels written by sub-Saharian African women carefully describe traditional practices, polygamy, forced marriages. These writers, through their acquired freedom speech, have gained the power to participate in the public debate. This form of emancipation takes hold of a language and an art formerly reserved to men because of traditions. Violence, slang words, obscene or pornographic language are no longer part of a male monopoly on poetic language. This poetic creation is vested differently by women writers, who are therefore able to express themselves
Plaiche, Anza Karel. "États et écritures de violence en Afrique contemporaine : la représentation des conflits armés et des violences de masse dans les fictions africaines subsahariennes francophones." Thesis, La Réunion, 2012. http://www.theses.fr/2012LARE0031/document.
This research project examines the representation of the experience of extreme violence in the contemporary fictional space of Sub-Saharan Francophone Africa. The numerous works of prose fiction written in the wake of the armed conflicts of the 1990s and the Rwandan genocide raise questions related to the representation of pain, cruelty and death as well as to the ethics of art. How do literary texts put into narrative traumatic events? How do writers think and problematize extreme crises of immediate history? By the means of what literary modalities are these crises constituted into an object of knowledge and awareness? And what esthetic and language strategies have been privileged to convey the memory of the atrocities in order toprovide testimony or aim at critical reflection? This thesis explores the writing of the collective tragedies that, from a historical and socio-cultural perspective, mark the start of a new period of violence in Sub-Saharan Africa. In this context, we are focusing predominantly on texts that are characterized – through the distinctive choices of form and style operated by the authors – by a radicalization of discourse and particularly violent plots and esthetics. This research which interrogates the powers and the possible limits of art in the representation of facts of extreme violence analyses an extensive corpus of novels and short stories published between 1998 and 2010 and suggests a multidisciplinary approach which, next to literary and esthetic theories, draws on history, sociology, anthropology and psychiatry
Dagnac, Anne. "Français d'Afrique, norme, variation : le cas de la presse écrite en Côte d'Ivoire et au Mali." Toulouse 2, 1996. http://www.theses.fr/1996TOU20064.
In two countries with contrasting sociolinguistic profiles among african french-speaking area, we study some lexical and syntactical particularities from a corpus of written press. To measure them, the central standard we have chosen lies not in academic norms, but in actual usage in similar context, which may lead us to re-asset the existing descriptions of "central french" as well as the extent and nature of the particularities of the african variety. The lexical study, centered on dynamic neologism, together with the extension of derivational rules, a certain instability in rection and in the perception of the norms, shows that language levels are being partially reorganized, especially in ivory coast. Four syntaxic points are then detailled : coordination, indirect speech, ellipsis (especially of verb arguments, anaphorical items and "en" in quantitative structures), and coreference of the empty form pro in non-argumental infinitive groups. The particularities, quite patent compared to academic norms, prove more subtle compared to actual usage. They often just extend inner possibilities already partly resorted to by central french. Most of them rely on changes in syntactico-semantical constraints, especially as regards anaphora, saillancy, coreference and thematic values. Other are linked with syntactical marks (eg in "additive coordination" and "enonciative subordination" in indirect speech). Generally remaining optional, they attest that an endogenous norm is setting up, in these two countires, but maybe even in the whole african area, whatever the substract
Gbouablé, Edwige. "Des écritures de la violence dans les dramaturgies contemporaines d’Afrique noire francophone (1930-2005)." Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00199210/fr/.
Violence comes across black african French-speaking theatrical production since its origins. It is prone to thematic and aesthetic changes which makes it evolve from one period to another. We have thus passed from confined theatres of assimilated violence where the form was a constraint to an outburst of writings dealing with violence in contemporary works. Violence appears in the plays of William Ponty (1930) under the form of cultural conflict drawn from African customs. Turned into political violence, it embarks the dramaturgic categories during the Seventies in the confrontation of the colonizer against the colonised. With the theatre of the 1980’s, violence, still political, takes however another form marked by an attempt to disrupt with classical theatrical canons. Associating the burlesque with tragedy, bypassing the French language, establishing a dialogue between tradition and modernity through an endogenous writing are as many realities characterizing the expression of conflicts about disillusionnement. In most of the plays following the1990’s, on the other hand, the conflicts take on a plural image which convenes the world through distinctive modes of expression. It results in a hybrid writing in which violence is voiced out through the dislocation of the dramatic categories and of the meaning that emerges out of it. From this scriptural dynamics of violence arises a displacement of the theatrical stakes in so far as African dramas today get rid of the nationalist inclinations to endorse the world’s realities. Thus the opening of contemporary theatres to the world creates a variety of forms whose complexity calls into question the concept of Africanity
Частини книг з теми "Écriture – Afrique subsaharienne":
MANIFI, Maxime. "L’importance de la traduction en langues nationales pour l’essor de l’éducation multilingue au Cameroun." In La traduction et l’interprétation en Afrique subsaharienne : les nouveaux défis d’un espace multilingue, 125–40. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.3532.